Showing titles in Words, Language & Grammar

This short, opinionated audiobook addresses the Sapir-Whorf hypothesis, which argues that the language we speak shapes the way we perceive the world. Linguist John McWhorter argues that while this idea is mesmerizing, it is plainly wrong. It is language that reflects culture and worldview, not the other way around.

Sir Trevor McDonald is an extraordinary man - and he has led an improbable life. Now in his 80th year, he is known and loved by people the world over for his humility, charm and natural ease. As a natural storyteller and communicator, he has few equals. In An Improbable Life, Sir Trevor recounts his personal experience of world events and interviews with globally famous - or notorious - figures. He has witnessed war and death and risked his own life to meet and talk with despots and liberators.

A bonzer (p. 288) discussion of the strange but dinkum (p. 289) pedigree (p. 224) of the naughty (p. 202), nice (p. 212), and, sometimes, obscene (p. 217) English language. We live in a torrent of words — from radio and television, books and newspapers, and now from the internet. But, as Julian Burnside reminds us in this new edition of the bestselling Wordwatching, words are a source both of pleasure and power, and can be deployed for good or for ill.

When travelling, do you want to journey off the English-speaking path, meet people and communicate easily? If so then you need to Get Talking. Through 10 common scenarios plus culture and travel advice, you'll learn the skills for understanding and the confidence to speak Thai in just 10 days. Practise the most frequent words and expressions for: Making introductions. Greeting people. Taking a taxi. Going shopping. Ordering food. Going for a meal. Getting to the post office. Speaking about Thai. Asking where are you from. Asking if you have ever been outside Bangkok?

Jude Fawley, the stonemason excluded not by his wits but by poverty from the world of Christminster privilege, finds fulfilment in his relationship with Sue Bridehead. Both have left earlier marriages. Ironically, when tragedy tests their union it is Sue, the modern emancipated woman, who proves unequal to the challenge. Hardy’s fearless exploration of sexual and social relationships and his prophetic critique of marriage scandalised the late Victorian establishment and marked the end of his career as a novelist. Part of a series of vintage recordings taken from the Penguin Archives.

This volume celebrates six such languages - Ancient Greek, Latin, Old English, Sanskrit, Old Irish, and Biblical Hebrew - by first introducing listeners to their most distinctive features, then showing how these linguistic traits play out in short excerpts from actual ancient texts. It explores, for instance, how Homer's Greek shows signs of oral composition, how Horace achieves striking poetic effects through interlaced word order in his Latin, and how the poet of Beowulf attains remarkable intensity of expression through the resources of Old English.

Ninety crime writers from the world’s oldest and most famous crime writing network give tips and insights into successful crime and thriller fiction. Howdunit! offers a fresh perspective on the craft of crime writing from leading exponents of the genre, past and present. The book offers invaluable advice to people interested in writing crime fiction, but it also provides a fascinating picture of the way that the best crime writers have honed their skills over the years.

The Global Citizen Language Learning vocabulary mastery audiobooks are intentionally and judiciously structured for vocabulary, definition, and pronunciation learning, retention, and recall for individuals who are completely new to the language!

"They Say / I Say" identifies the key rhetorical moves in academic writing, showing students how to frame their arguments in the larger context of what others have said and providing templates to help them make those moves. And, because these moves are central across all disciplines, the audiobook includes chapters on writing in the sciences, writing in the social sciences, and - new to this edition - writing about literature.

Founded in 1916, British Vogue has forged its own path from the very start. From the trauma and austerity of two world wars through to the freedom of the swinging Sixties, the rise of the supermodel to the groundbreaking editorial direction of Edward Enninful: the magazine's chameleonic ability to move with the times has ensured its perennial status at the vanguard of British cool. The book draws on hitherto unseen archives and behind-the-scenes interviews with Vogue insiders including stylist Grace Coddington, editor Alexandra Shulman and fashion editor Lucinda Chambers.

A sinister masterpiece, Our Mutual Friend was Dickens' last completed novel. It is perhaps his ultimate vision of a dark, macabre London and the corrupting power of money.

When award-winning journalist Nick Davies decided to break Fleet Street's unwritten rule by investigating his own colleagues, he found that the business of reporting the truth had been slowly subverted by the mass production of ignorance.

No one comes out of a movie talking about structure. What audiences love and remember about a movie are great scenes. Marlon Brando in the back seat in On the Waterfront giving his "I could'a been a contender" speech. Meg Ryan's fake orgasm in Katz's Deli in When Harry Met Sally with the climactic punch line: "I'll have what she's having." In Superbad, Jonah Hill professing "I love you" to his friend Michael Cera by touching his nose with a "boop".

This course offers an overview of the English language that is literary, historical, cultural, political, and scientific in its scope and designed to give you greater insight into the written and spoken word.The lectures provide a thorough understanding of the history of the English language - from its origins as a dialect of the Germanic-speaking peoples through the literary and cultural documents of its 1,500-year span to the state of American speech today.

Words. We use them all the time, every day, mostly without giving them much thought at all. We take for granted that they’re here at our disposal whenever we need them. But if you’ve ever wished you could communicate more effectively, words are the place to start. It’s incumbent upon you to choose the best words to accomplish your goals, because how you choose to communicate influences—well, everything! The power of communication shapes our professional goals, our relationships, and our lives—so the words we choose to use carry a great deal of power.

Through their many best-selling books, Natalie Goldberg and Julia Cameron have done nothing less than deepen the way millions of us experience the art and practice of writing and creativity. Now, with The Writing Life, Cameron and Goldberg join forces for the first time in this revealing dialogue that speaks to our common search for an everyday spirituality.

Miss Elizabeth Mapp, magnificent grande dame and heiress, is always on the lookout lest her neighbors fall outside the bounds of perfect, exemplary manners. But her tightly controlled world is soon beset on all sides by interlopers, first in the disturbingly masculine form of two very different retired army officers, both of whom are anything but retiring in their conflicting aims upon her heart.

Let outlines help you write a better book! Writers often look upon outlines with fear and trembling. But when properly understood and correctly wielded, the outline is one of the most powerful weapons in a writer's arsenal.

Using his famed on-the-nose commentary, Twitter legend James Felton has dissected 99 of the most outlandish stories The Sun (for a long time the biggest-selling British newspaper) has run since it became a tabloid in 1969, hoping to answer once and for all whether the press has reflected - or manipulated - the British people over the last 50 years.

In this revealing compendium, acclaimed writer Diana Gabaldon shares her invaluable lessons for creating an immersive reading experience, from evoking a mood to using the power of emotions to communicate physical intimacy. You'll learn the difference between gratuitous sex and genuine encounters that move the story forward and how to handle less-than-savory acts that nevertheless serve a narrative purpose. Gabaldon also notes that sex can be conveyed instead of described.